Robert Pinsky – författare

Intense verbal music with a jazz feeling; invention against the grain of expectation; intelligence racing among materials with the variety of a busy street - these have been the qualities of Robert Pinsky's work since his first book, "Sadness and Happiness" (1975), celebrated for setting a new direction in American poetry. At that time, responding to a question about that book, Pinsky said: "I would like to write a poetry which could contain every kind of thing, while keeping all the excitement of poetry". That ambition was realized in a new way with each of his books, including the book-length personal monologue "An Explanation of America"; the transformed autobiography of "History of My Heart"; the bestselling translation "The Inferno of Dante"; and, most recently, the savage, inventive "Gulf Music". This volume contains a selection of poems from Pinsky's career to demonstrate that variety and renewal with fresh clarity.

Quick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made— in terms borrowed from the “singing school” of William Butler Yeats’s “Sailing to Byzantium.”Robert Pinsky’s headnotes for each of the 80 poems and his brief introductions to each section take a writer’s view of specific works: William Carlos Williams’s “Fine Work with Pitch and Copper” for intense verbal music; Emily Dickinson’s “Because I Could Not Stop for Death” for wild imagination in matter-of-fact language; Robert Southwell’s “The Burning Babe” for surrealist aplomb; Wallace Stevens’s “The House Was Quiet and the World Was Calm” for subtlety in meter. Included are poems by Aphra Behn, Allen Ginsberg, George Herbert, John Keats, Mina Loy, Thomas Nashe, and many other master poets.This anthology respects poetry’s mysteries in two senses of the word: techniques of craft and strokes of the inexplicable.

This lively, abundant book is distinguished by its focus on hearing poetry read aloud. Robert Pinsky, beloved for his ability to bring poetry to life as spoken language, has collected poems that sound marvelous in a reader’s actual or imagined voice. Pinsky has organized the book into sections with brief introductions that emphasize the attentive, intuitive, and reflective process of listening to poetry. This structure provides an implicit, generous definition-by-example of poetry itself: beginning with “Short Lines, Frequent Rhymes” and “Long Lines” and proceeding through fundamental themes such as “Love Poems,” “Odes, Complaints, and Celebrations,” and “Jokes, Ripostes, Parodies, and Insults.”Essential Pleasures gives a fresh setting to traditional favorites, including poems by William Shakespeare, Emily Dickinson, and Robert Frost, placed among contemporary poems by John Ashbery, Louise Glu¨ck, Yusef Komunyakaa, and many others. This is an inviting and distinguished collection and an essential book for every home.

Quick, joyful, and playfully astringent, with surprising comparisons and examples, this collection takes an unconventional approach to the art of poetry. Instead of rules, theories, or recipes, Singing School emphasizes ways to learn from great work: studying magnificent, monumentally enduring poems and how they are made— in terms borrowed from the “singing school” of William Butler Yeats’s “Sailing to Byzantium.”Robert Pinsky’s headnotes for each of the 80 poems and his brief introductions to each section take a writer’s view of specific works: William Carlos Williams’s “Fine Work with Pitch and Copper” for intense verbal music; Emily Dickinson’s “Because I Could Not Stop for Death” for wild imagination in matter-of-fact language; Robert Southwell’s “The Burning Babe” for surrealist aplomb; Wallace Stevens’s “The House Was Quiet and the World Was Calm” for subtlety in meter. Included are poems by Aphra Behn, Allen Ginsberg, George Herbert, John Keats, Mina Loy, Thomas Nashe, and many other master poets.This anthology respects poetry’s mysteries in two senses of the word: techniques of craft and strokes of the inexplicable.

Despair, mania, rage, guilt, derangement, fantasy: poetry is our most intimate source for the urgent, varied experience of human emotion. Poems get under our skin; they offer solace with the balm, and the sting, of understanding. In The Book of Poetry for Hard Times, former Poet Laureate Robert Pinsky curates poems that explore the expanses of human emotion across centuries, from Shakespeare to Terrance Hayes, Dante to Patricia Lockwood. Each poem reveals something new about our most profound and universal experiences; taken together they offer a sweeping ode to the power of poetry.“For anyone who knows these human feelings—and almost everyone does—this book will become an essential companion.”—Eavan Boland

In late-1940s Long Branch, an historic but run-down Jersey Shore resort town, in a neighbourhood of Italian, Black and Jewish families, Robert Pinsky began his unlikely journey to becoming a poet. Descended from a bootlegger grandfather, an athletic father and a rebellious tomboy mother, Pinsky was an unruly but articulate high-school C-student whose obsession with the rhythms and melodies of speech inspired him to write.Pinsky traces the roots of his poetry, with its wide and fearless range, back to the voices of his neighbourhood, to music and a distinctly American tradition of improvisation, with influences including Mark Twain and Ray Charles, Marianne Moore and Mel Brooks, Emily Dickinson and Sid Caesar, Dante Alighieri and the Orthodox Jewish liturgy. Jersey Breaks offers a candid self-portrait and, underlying Pinsky’s notable public presence and unprecedented three terms as poet laureate of the United States, a unique poetic understanding of American culture.

From Sadness and Happiness: Poems by Robert Pinsky: CEREMONY FOR ANY BEGINNING Robert Pinsky Against weather, and the random Harpies--mood, circumstance, the laws Of biography, chance, physics-- The unseasonable soul holds forth, Eager for form as a renowned Pedant, the emperor's man of worth, Hereditary arbiter of manners. Soul, one's life is one's enemy. As the small children learn, what happens Takes over, and what you were goes away. They learn it in sardonic soft Comments of the weather, when it sharpens The hard surfaces of daylight: light Winds, vague in direction, like blades Lavishing their brilliant strokes All over a wrecked house, The nude wallpaper and the brute Intelligence of the torn pipes. Therefore when you marry or build Pray to be untrue to the plain Dominance of your own weather, how it keeps Going even in the woods when not A soul is there, and how it implies Always that separate, cold Splendidness, uncouth and unkind-- On chilly, unclouded mornings, Torrential sunlight and moist air, Leafage and solid bark breathing the mist.

In this book Robert Pinsky writes about contemporary poetry as it reflects its modernist and Romantic past. He isolates certain persistent ideas about poetry's situation relative to life and focuses on the conflict the poet faces between the nature of words and poetic forms on one side, and the nature of experience on the other. The author ranges for his often surprising examples from Keats to the great modernists such as Stevens and Williams, to the contents of recent magazines. He considers work by Ammons, Ashbery, Bogan, Ginsberg, Lowell, Merwin, O'Hara, and younger writers, offering judgments and enthusiasms from a viewpoint that is consistent but unstereotyped. Like his poetry, Robert Pinsky's criticism joins the traditional and the innovative in ways that are thoughtful and unmistakably his own. His book is a bold essay on the contemporary situation in poetry, on the dazzling achievements of modernism, and on the nature or "situation" of poetry itself.

Explanation of America.

The place of poetry in modern democracy is no place, according to conventional wisdom. The poet, we hear, is a casualty of mass entertainment and prosaic public culture, banished to the artistic sidelines to compose variations on insipid themes for a dwindling audience. Robert Pinsky, however, argues that this gloomy diagnosis is as wrongheaded as it is familiar. Pinsky, whose remarkable career as a poet itself undermines the view, writes that to portray poetry and democracy as enemies is to radically misconstrue both. The voice of poetry, he shows, resonates with profound themes at the very heart of democratic culture. There is no one in America better to write on this topic. One of the country's most accomplished poets, Robert Pinsky served an unprecedented two terms as America's Poet Laureate (1997-2000) and led the immensely popular multimedia Favorite Poem Project, which invited Americans to submit and read aloud their favorite poems.Pinsky draws on his experiences and on characteristically sharp and elegant observations of individual poems to argue that expecting poetry to compete with show business is to mistake its greatest democratic strength--its intimate, human scale--as a weakness. As an expression of individual voice, a poem implicitly allies itself with ideas about individual dignity that are democracy's bedrock, far more than is mass participation. Yet poems also summon up communal life. Even the most inward-looking work imagines a reader. And in their rhythms and cadences poems carry in their very bones the illusion and dynamic of call and response. Poetry, Pinsky writes, cannot help but mediate between the inner consciousness of the individual reader and the outer world of other people. As part of the entertainment industry, he concludes, poetry will always be small and overlooked. As an art--and one that is inescapably democratic--it is massive and fundamental.

The remarkable first two books of poetry by the Pulitzer Prize finalist and former U.S. poet laureate—now combined in a single volume with a new preface by the authorAward-winning poet Robert Pinsky’s first two collections—Sadness And Happiness and An Explanation of America—announced the arrival of a major new voice in American poetry. Now, these acclaimed books are presented together in a single volume featuring a new preface by the author, introducing a new generation of readers to the groundbreaking early work of a beloved poet. Sadness And Happiness explores everyday subjects such as the streets and oceanfront of Pinsky’s hometown of Long Branch, New Jersey, while the long title poem of An Explanation of America examines personal and national myths as it transports readers across the country.

“Robert Pinsky belongs to that rarest category of talents, a poet-critic.”—Robert LowellTwo important books of criticism by the Pulitzer Prize finalist and former U.S. poet laureate—now combined in a single volume with a new preface by the authorFor Robert Pinsky, poetry’s individual, human scale as a fundamentally vocal medium—with poems brought to life by one person at a time—gives poetry a unique importance in American and democratic culture and society. This book brings together two compelling works of criticism by the former poet laureate—The Situation of Poetry and Democracy, Culture and the Voice of Poetry, in which he makes a passionate and eloquent case for the vital role of poetry in a democracy.

Despair, mania, rage, guilt, derangement, fantasy: poetry is our most intimate, personal source for the urgency of these experiences. Poems get under our skin; they engage with the balm, and the sting, of understanding. In The Mind Has Cliffs of Fall—its title inspired by a Gerard Manley Hopkins poem—acclaimed poet Robert Pinsky gives us more than 130 poems that explore emotion at its most expansive, distinct, and profound.With seven illuminating chapters and succinct headnotes for each poem, Pinsky leads us through the book’s sweeping historical range. Each chapter, with contents chronologically presented from Shakespeare to Terrance Hayes, Dante to Patricia Lockwood, shows the persistence and variation in our states of mind. “The Sleep of Reason” explores sanity and the imagination, moving from William Cowper’s “Lines Written During a Time of Insanity” to Nicole Sealey’s “a violence.” “Grief” includes Walt Whitman’s “When Lilacs last in the Door-yard Bloom’d” and Marie Howe’s “What the Living Do,” and “Manic Laughter” highlights both Lewis Carroll and Martín Espada. Each poem reveals something new about the vastness of human emotion; taken together they offer a sweeping ode to the power of poetry.Guided by “our finest living example of [the American civic poet]” (New York Times), The Mind Has Cliffs of Fall demonstrates how extreme feelings can be complementary and contradicting, and how poetry is not just an expression of emotion, but emotion itself.

In late-1940s Long Branch, a historic but run-down Jersey Shore resort town, in a neighbourhood of Italian, Black and Jewish families, Robert Pinsky began his unlikely journey to becoming a poet. Descended from a bootlegger grandfather, an athletic father, and a rebellious tomboy mother, Pinsky was an unruly but articulate student whose obsession with the rhythms and melodies of speech inspired him to write.Pinsky traces the roots of his poetry, with its wide and fearless range, back to the voices of his neighbourhood, to music and a distinctly American tradition of improvisation, with influences including Mark Twain and Ray Charles, Marianne Moore and Mel Brooks, Emily Dickinson and Sid Caesar, Dante Alighieri and the Orthodox Jewish liturgy. He reflects on how writing poetry helped him make sense of life’s challenges, such as his mother’s traumatic brain injury, and on his notable public presence, including an unprecedented three terms as United States poet laureate.Candid, engaging and wry, Jersey Breaks offers an intimate self-portrait and a unique poetic understanding of American culture.